GRE應對長閱讀需訓練記憶力
GRE應對長閱讀需訓練記憶力 ,這3個練習步驟讓你考試中過目不忘,我們一起來看看吧，下面小編就和大家分享，來欣賞一下吧。
GRE應對長閱讀需訓練記憶力 這3個練習步驟讓你考試中過目不忘
GRE閱讀為何要訓練記憶力?
之所以要求大家培養(yǎng)短期記憶能力，主要還是為了順利解答GRE閱讀部分各類題目。GRE閱讀文章大多選自各類科學或者金融類雜志，篇幅較長，內容也比較深刻復雜，考生一遍看過往往難以留下足夠的印象，之后解題如果還要返回再仔細看，往往會花費大量考試時間。眾所周知GRE考試時間相當緊張，二次閱讀會浪費大量時間。而如果考生能通過第一次閱讀就把文章內容和結構大致記住，解題時就能更有針對性地找到問題涉及的文章內容，提升答題速度和正確率，而這種記憶能力，就是我們提到的短期記憶能力。
另外，短期記憶能力不止對閱讀有用，對于一些題目較長的比如填空或者數(shù)學文字題來說也能起到很大作用。比如填空中的三空題，題目本身長度往往接近一篇短閱讀，考生又需要同時兼顧三個空格中的選項保持整體意思的合理恰當，如果沒有一定的記憶能力，填了這個空忘了前面或后面的一些關鍵要點，就很容易選錯答案。數(shù)學中一些本身難度不高但文字表達特別復雜的WORD PROBLEM也是如此?？偠灾?，練好短期記憶能力，對于整場GRE考試的各類題型，都能起到一定的積極作用。
訓練GRE閱讀記憶力3個步驟講解
那么，考生如何才能培養(yǎng)好GRE考試需要的短期記憶能力呢?下面小編就為大家介紹具體步驟。
第一步：先記住文章框架
1. 用3.5分鐘讀完一篇文章。
2. 在文章每段結尾，一句話概括出該段主旨。
3. 讀完全文后，瀏覽每段主旨，做好歸納總結。
4. 提煉并確定文章整體主旨。
上述步驟能幫助考生熟悉全文，加快解題速度。
第二步：回顧檢查記憶內容
1. 把剛才看過的文章翻頁，暫時不去看。
2. 在紙上寫下剛才的每段主旨和文章整體主旨。
檢查記憶的步驟是為了測試你實際記住了文章里的多少內容，這也真是GRE閱讀理解考察的能力。如果你剛開始練習的時候什么都沒記住也沒關系，但這個階段請不要直接去看文章。只要盡可能把你還記得的東西寫下來即可。
第三步：結合記憶答題
1. 現(xiàn)在可以把文章翻回來重新看了。
2. 如果題目涉及到具體細節(jié)，比如某段某行中有關于特定內容的描述說明等，就馬上定位到文章當中的相關部分找尋答案。
3. 如果不是細節(jié)題，就直接答題。
4. 能夠確定答案的情況下果斷答題并繼續(xù)做后面的題。
5. 不能確定答案的話再回到文章里找，但要求迅速完成。
6. 如果在上一步中無法解答題目，那么就做個標記，猜個答案然后繼續(xù)做題。
假如你還在為GRE閱讀中的長篇文章而頭疼，或是經常遭遇看完文章后面忘了前面的問題，那么上文中提到的內容，相信會給你帶來不小的幫助。
GRE閱讀長難句中譯英練習
36. "Is this what you intended to accomplish with your careers?" Senator Robert Dole asked Time Warner executives last week. "You have sold your souls, but must you corrupt our nation and threaten our children as well?"
37. "The test of any democratic society, he wrote in a Wall Street Journal column', "lies not in how well it can control expression but in whether it gives freedom of thought and expression the widest possible latitude, however disputable or irritating the results may sometimes be..."
38. During the discussion of rock singing verses at last month's stockholders' meeting, Levin asserted that "music is not the cause of society's ills" and even cited his son, a teacher in the Bronx, New York, who uses rap to communicate with students.
39. Much of the language used to describe monetary policy, such as "steering the economy to a soft landing" of "a touch on the brakes" ， makes it sound like a precise science. Nothing could be further from the truth.
40. Economists have been particularly surprised by favorable inflation figures in Britain and the United States, since, conventional measures suggest that both economies, and especially America's, have little productive slack.
…………………………………………………………………………………………………………………………………
36.[參考譯文]上星期參議員羅博特多爾質問時代華納公司的高級管理人員們："難道這就是你們希望能夠成就的事業(yè)?你們已經出賣了自己的靈魂，但是難道你們還非要腐化我們的國家，威脅我們的孩子們嗎?"
37.[參考譯文]"對任何一個民主社會的考驗，"他在《華爾街雜志》的一個專欄文章中寫到，"不在于它能夠多有效地控制各種意見的表達，而在于這個社會是否能給予思考和表達的盡可能廣泛的自由，不管有時候這種結果是多么的富有爭議或令人不快…"
38.[參考譯文]在-上個月的股東大會上關于搖滾歌詞的討論中，萊文宣稱說："音樂不是社會問題的原因"，他甚至還以他的兒子為例。他的兒子是紐約州布朗克斯的一個教師，并用說唱音樂與學生們進行溝通。
39.[參考譯文]有很多用于描述貨幣政策的詞匯，例如"輕踩剎車"以"操縱經濟軟著陸"，使貨幣政策聽起來像是一門精確的科學。沒有什么比這更遠離實際情況的了。
40.[參考譯文]經濟學家們對英國和美國的有利的通貨膨脹數(shù)據尤其感到驚訝，因為傳統(tǒng)的計量方法顯示兩國的經濟，特別是美國的經濟，幾乎沒有生產蕭條的時候。
GRE閱讀練習每日一篇
Although scientists observe that an organism’s behavior falls into rhythmic patterns, they disagree about how these patterns are affected when the organism is transported to a new environment. One experimenter, Brown, brought oysters from Connecticut waters to Illinois waters. She noted that the oysters initially opened their shells widest when it was high tide in Connecticut, but that after fourteen days their rhythms had adapted to the tide schedule in Illinois. Although she could not posit an unequivocal causal relationship between behavior and environmental change, Brown concluded that a change in tide schedule is one of several possible exogenous influences (those outside the organism) on the oysters’ rhythms. Another experimenter, Hamner, however, discovered that hamsters from California maintain their original rhythms even at the South Pole. He concluded that endogenous influences (those inside the organism) seem to affect an organism’s rhythmic behavior.
17. All of the following could be considered examples of exogenous influences on an organism EXCEPT the influence of the
(A) level of a hormone on a field mouse’s readiness for mating
(B) temperature of a region on a bear’s hibernation
(C) salt level of a river on a fish’s migration
(D) humidity of an area on a cat’s shedding of its fur
(E) proximity of an owl on a lizard’s searching for food
18. Which of the following statements best describes the conclusion drawn by Brown (lines 14-17)
(A) A change in tide schedule is the primary influence on an oyster’s rhythms.
(B) A change in tide schedule may be an important exogenous influence on an oyster’s rhythms.
(C) Exogenous influences, such as a change in tide schedule, seldom affect an oyster’s rhythms.
(D) Endogenous influences have no effect on an oyster’s rhythms.
(E) Endogenous influences are the only influences on an oyster’s rhythms.
19. The passage suggests that Brown’s study was similar to Hamner’s in which of the following ways?
I. Both experimenters discovered that a new environment had a significant effect on an organism’s behavior rhythms.
II. Both experimenters observed an organism’s behavioral rhythms after the organism had been transported to a new environment.
III. Both experimenters knew an organism’s rhythmic patterns in its original environment.
(A) I only
(B) II only
(C) I and II only
(D) II and III only
(E) I, II, and III
20. Which of the following, if true, would most weaken Brown’s conclusion?
(A) The oyster gradually closed their shells after high tide in Illinois had passed.
(B) The oysters’ behavioral rhythms maintained their adaptation to the tide schedule in Illinois throughout thirty days of observation.
(C) Sixteen days after they were moved to Illinois, the oysters opened their shells widest when it was high tide in Connecticut.
(D) A scientist who brought Maryland oysters to Maine found that the oysters opened their shells widest when it was high tide in Maine.
(E) In an experiment similar to Brown’s, a scientist was able to establish a clear causal relationship between environmental change and behavioral rhythms.
Picture-taking is a technique both for annexing the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographer’s temperament, discovering itself through the camera’s cropping of reality. That is, photography has two antithetical ideals: in the first, photography is about the world and the photographer is a mere observe who counts for little; but in the second, photography is the instrument of intrepid, questing subjectivity and the photographer is all.
These conflicting ideals arise from a fundamental uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in “taking” a picture. Accordingly, the ideal of a photographer as observer is attractive because it implicitly denies that picture-taking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championed.
An important result of the coexistence of these two ideals is a recurrent ambivalence toward photography’s means. Whatever the claims that photography might make to be a form of personal expression on a par (on a par: adv.同等) with painting, its originality is inextricably linked to the powers of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton’s high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limits imposed by premodern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier-Bresson, to refuse to use modern equipment. These photographers have come to doubt the value of the camera as an instrument of “fast seeing.” Cartier-Bresson, in fact, claims that the modern camera may see too fast.
This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time (over time: 隨著時間的過去) with the wish to return to a purer past—when images had a handmade quality. This nostalgia for some pristine state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the wok of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness.
21. According to the passage, interest among photographers in each of photography’s two ideals can be described as
(A) rapidly changing
(B) cyclically recurring
(C) steadily growing
(D) unimportant to the viewers of photographs
(E) unrelated to changes in technology
22. The author is primarily concerned with
(A) establishing new technical standards for contemporary photography
(B) analyzing the influence of photographic ideals on picture-taking
(C) tracing the development of camera technology in the twentieth century
(D) describing how photographers’ individual temperaments are reflected in their work
(E) explaining how the technical limitations imposed by certain photographers on themselves affect their work
23. The passage states all of the following about photographs EXCEPT:
(A) They can display a cropped reality.
(B) The can convey information.
(C) They can depict the photographer’s temperament.
(D) They can possess great formal beauty.
(E) They can change the viewer’s sensibilities.
24. The author mentions the work of Harold Edgerton in order to provide an example of
(A) how a controlled ambivalence toward photography’s means can produce outstanding pictures
(B) how the content of photographs has changed from the nineteenth century to the twentieth
(C) the popularity of high-speed photography in the twentieth century
(D) the relationship between photographic originality and technology
(E) the primacy of formal beauty over emotional content
25. The passage suggests that photographers such as Walker Evans prefer old-fashioned techniques and equipment because these photographers
(A) admire instruments of fast seeing
(B) need to feel armed by technology
(C) strive for intense formal beauty in their photographs
(D) like the discipline that comes from self-imposed limitations
(E) dislike the dependence of photographic effectiveness on the powers of a machine
26. According to the passage, the two antithetical ideals of photography differ primarily in the
(A) value that each places on the beauty of the finished product
(B) emphasis that each places on the emotional impact of the finished product
(C) degree of technical knowledge that each requires of the photographer
(D) extent of the power that each requires of the photographer’s equipment
(E) way in which each defines the role of the photographer
27. Which of the following statements would be most likely to begin the paragraph immediately following the passage?
(A) Photographers, as a result of their heightened awareness of time, are constantly trying to capture events and actions that are fleeting.
(B) Thus the cult of the future, the worship of machines and speed, is firmly established in spite of efforts to the contrary by some photographers.
(C) The rejection of technical knowledge, however, can never be complete and photography cannot for any length of time pretend that it has no weapons.
(D) The point of honor involved in rejecting complex equipment is, however, of no significance to the viewer of a photograph.
(E) Consequently the impulse to return to the past through images that suggest a handwrought quality is nothing more that a passing fad.
答案：17-27：ABDCBBEDEEC
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